Art Beyond the West

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For Non-Western Art, Humanities, or Culture and Religion courses. This one-volume survey provides students with detailed and systematic coverage of Non-Western art via coverage of the cultural and ideological contexts in which art was created. Michael Kampen-O'Riley created this text to serve as the market's first dedicated survey of Non-Western art. Rather than mere descriptions of the various styles, Kampen-O'Riley provides detailed analysis of each major style within its cultural context, through which students can derive the meaning of works of art in each style. The text also provides students with an efficient educational tool with which to study art from nearly two thirds of the world.

Introduction: Art Beyond the West

Africa

India and Southeast Asia

China

Japan and Korea The Pacific

The Americas

Western and Non-Western Art

The Art in Context

Maps

Africa

Time Chart

Introduction

The History of African Art History

African Prehistory

Southern Africa

East Africa

Central Africa

West Africa

The African Diaspora and African-American Folklore Art

Summary

Boxes

Maps

India and Southeast Asia

Time Chart

Introduction

The Indus Valley

Buddhist Art

Hindu Art

Jain Art and Architecture

Islamic India

Colonial India

Summary

Boxes

Maps

China

Introduction

Time Chart

The Neolithic Period (c. 7000-2250 BCE)

The Xia (c. 2205-1700 BCE) and Shang (1700-1045 BCE) Dynasties

The Zhou Dynasty (1045-480 BCE)

The Period of Warring States (480-221 BCE) and the Qin Dynasty (221-209 BCE)

The Han Dynasty (206 BCE-220 CE)

The Period of Disunity: Six Dynasties (220-589 CE)

The Wei Dynasty in Northern China (388-535 CE)

The Sui (589-618) and Tang (618-907) Dynasties

The Five Dynasties (906-960), Northern Song (960-1127) and Southern Song (1127-1279) Dynasties

The Yuan Dynasty (1279-1368)

The Ming Dynasty (1368-1644)

The Qing Dynasty (1644-1911)

Modern China (from 1911)

Summary

Boxes

Maps

Japan and Korea

Time Chart

Introduction

The Jomon (12,000/10,500-300 BCE) and Yayoi (300 BCE-300 CE) Periods

The Kofun Period (300-710 CE)

Korea: The Three Kingdoms Period (57 BCE-688 CE)

The Asuka (552-645) and Hakuho (645-710) Periods

The Nara Period (710-794)

The Heian Period (794-1185)

Kamakura (1185-1333) and Koryo Korea (948-1395) Periods

The Muromachi (Ashikaga) Period (1392-1573)

The Momoyama Period (1573-1615)

The Tokugawa (Edo) Period (1615-1868)

The Meiji Restoration (1868-1912)

The Modern Period (from 1912)

Summary

Boxes

Maps

The Pacific

Time Chart

Introduction

Australia

Melanesia

Micronesia Polynesia

Summary

Boxes

Maps

The Americas

Introduction

The Pre-Columbian World

South America: The Central Andes

Time Chart

Mesoamerica

Time Chart

North America

Time Chart

Summary

Boxes

Maps

Art without Boundaries

Introduction

Postcolonialism

Postmodernism

Internationalism in the Postmodern and Postcolonial World

Into the Twenty-First Century: The Future of Art Beyond the West

Map Afterword

The New Geographies of Contemporary Art

Glossary

Bibliography

Picture Credits

Index

Table of Contents provided by Publisher. All Rights Reserved.

Art beyond the Westsurveys the art traditions of Africa, India and Southeast Asia, China, Korea and Japan, the Pacific islands, and Pre-Colombian and Native America. These traditions are often called "Non Western." Although the term is tendentious insofar as it defines the material it covers in terms of the West--that which isnotWestern--it has no intended negative connotations. The arts of these diverse cultures from around the world, many of which have existed for thousands of years to the present, represent multiple and distinct lines of cultural development. Texts have surveyed these areas individually or in groups, focusing on Asia, or Africa, the Pacific islands, and the Americas. The art of these diverse peoples, accounting for about half the lands on earth, are included in this study for readers who want a comprehensive survey of all the major art styles in the vast world beyond the West. Separate chapters are devoted to each of the regions in which the major nonwestern art traditions have developed. Varieties of Islamic art that developed in Africa and Asia are examined in context with those areas. Individual chapters in the text are organized around large geographic areas and survey the arts within them through history as they related to certain all-important and pervasive cultural ideals. This approach to the art beyond the West explains it contextually, in terms of the thinking of the artists and patrons who created it. Below is a brief introductory survey of the ideas around which the chapters in this text are organized. Additional information supplementing the text is located in boxes within each chapter. Boxes focus on important technical, methodological, cross-cultural, and aesthetic issues related to the text. While the boxed information is as important as the text itself, it is presented in this manner because it is specialized and detailed material that lies outside the mainstream and flow of the text. This text uses many terms that may be new to most readers. They include academic terms used by art historians and other scholars and non-English words used by the people who created and used the art illustrated in this text. These terms are explained in context with the discussions of the art in the chapters to follow and they are assembled in glossaries at the end of the book. This system follows the familiar model of foreign language textbooks and it allows readers to test themselves on the vocabulary they will need to read each successive chapters. Seeing the foreign terms and their approximate English equivalents, readers should remember that the full and original meaning of an African mask, a Japanese Zen Buddhist landscape painting, or a Maya temple can never be fully framed in the English language and understood by one who has not been part of the language and culture in which the art was produced. As a case in point, the Chinese meaning of qi, translated here as "character" or "disposition," will vary depending upon the context in which it is used, the time in which the writer lived, and a host of other determining factors. Yet, accepting these limitations, translations do help us understand ideas in other languages; while it is logically impossible fully to understand the art of another culture and time, the experience of encountering the many new concepts and ideas in this text can be enlightening. Some of the terms used in this introduction that the reader will need later in the book are listed in the glossary.